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ON FREE PUBLIC VIEW 


FROM 9 A.M. UNTIL 6 P.M. 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


BEGINNING SATURDAY, APRIL 10th, 1920 
AND CONTINUING UNTIL THE DAY OF THE SALE 


THE NOTABLE 
PRIVATE COLLECTION 


OF 


BRITISH PORTRAITS AND LANDSCAPES 


FORMED BY THE LATE 


R. HALL McCORMICK 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


IN THE GRAND BALLROOM OF 
THE HOTEL PLAZA 


FIFTH AVENUE, 58th to 59th STREET 


ON THURSDAY EVENING, APRIL Lath, 1920 
BEGINNING PROMPTLY AT 8.15 O'CLOCK 


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ILLUSTRATED CATALOGUE 
OF THE NOTABLE 


PRIVATE COLLECTION 


OF 


PORTRAITS AND LANDSCAPES 


pilot: MASTERS 


FORMED BY THE LATE 


R. HALL McCORMICK 


OF CHICAGO 


Poeeee sD AT UNRESTRICTED PUBLIC SALE 
BY DIRECTION OF MRS. R. HALL McCORMICK 


IN THE GRAND BALLROOM OF 
THE HOTEL PLAZA 


ON THE EVENING HEREIN STATED 


QM 2Y 2 
3 ' VI6S 


THE SALE TO BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF THE 
AMERICAN ART ASSOCIATION, MAnacers 
MADISON SQUARE SOUTH, NEW YORK 
1920 


On 
Sal} 


THE R. HALL McCORMICK COLLECTION 


The majority of the paintings that form the collection of the 
late R. Hall McCormick, of Chicago, were acquired in London about 
1891-1894. A few examples were purchased subsequently both in 
Paris and in New York. 

With some four exceptions, all the paintings belong to the English 
school. Moreover, they may be dated during the period extending from 
the reign of Charles I to that of Victoria, a range of some two centuries. 
Cornelis Janssens, who is the connecting link by descent, residence and 
travel of the Flemish, Dutch and English schools, provides us with a 
late “Portrait of a Lady.” ‘Three refer back to the art of Lely, by 
whom is the “Portrait of Frances Stewart, Duchess of Richmond.” 
This lady has not only a historical and aesthetic interest but also an 
iconographical one, as she sat as the model of the figure of Britannia 
on the coinage of her day, and her beauty was incontestable. In the 
words of a contemporary we read, regarding her, that “on the reverse 
is our beauty’s pride.” Two portraits, rather similar in general type, 
are to the credit of Kneller, while “Sacharissa” stands for the rarely 
encountered art of John Riley. This lady’s portrait has also a literary 
significance from having figured in the private affairs of the poet 
Waller. 

The revival of native British art in the 18th Century finds an 
echo in the original work of Hogarth, whose “Young Woman” and 
“Modern Midnight Conversation”—the latter not wholly attractive in 
subject—lead up to the coming of Hudson. Thus we pass to Reynolds, 
whose “Elizabeth, Lady Taylor,” is the earliest of three examples 
here. It belongs to the extremely early date of 1757. How far back 
it may be set in the wuvre of Sir Joshua may be deduced from the 
fact that the future President gave no recorded sittings—if, indeed, 
he gave any at all—earlier than 1755. That canvas may be said to 
reflect the numerous converging influences at work in that transitional 
period. Indeed, it lacks only one of those influences that survived in 
the art of England in post-Van Dyck days,—that of Gandy. The 
“Mrs. Baldwin” has only to be seen alongside of it to mark a note- 
worthy development in this painter’s original style. 

Gainsborough declared that he painted portraits to make money, 
and landscapes because he loved them. Representative of the former 
branch of his professional art is his “Mrs. Robinson,” while of the 


four other canvases by him, that entitled “Landscape” was obvi- 
ously painted under the influence exerted by a study of the Dutch 
painter Wynants. From the hand of Raeburn comes the virile “Lord 
Hamilton,” posed with dignity in a simple, wooden chair of Lincoln 
green; here also is seen Raeburn’s “Miss Jean Cameron,” of Fassifern, 
who married Roderick MacNeil of Barra. The “Lady Beauchamp” 
by Romney, painted about 1780, anticipates by some eight years the 
“Alexander Blair” from the same brush. Francis Cotes’s “Young 
Lady” is the more acceptable, as it is not carried through with the 
gritty and chalky technique that he often used. Beechey’s “Portrait 
of the Artist’s Wife,” seeing that it represents her unaccompanied by 
any of her children, seems to be an unexhibited work. Lawrence also 
is represented in a sprightly and exhilarating note in the genial 
“Canova,” whom he met as late as 1819. The canvas of a woman and 
child by John Opie, one of five works by the “Cornish wonder,” is 
entitled “Lady Hamilton and Child.” But the argument that it was 
intended to symbolize Hannah presenting the boy Samuel to Eli seems 
a sound one. ‘'T. Phillips did not depend on tone or glaze for the pow- 
erful appeal of his ‘Tom Moore,” while the congenial illustrator and 
decorative painter Stothard provides for us a typical ““May Queen.” 
The chief occupation of Robert Smirke was book illustration, and his 
“New Page” and “Obdurate Mother” remind us of the comparative 
paucity of his oil paintings. On the other hand, Sir David Wilkie: 
exhibited 100 pictures at the Royal Academy; and his love for his- 
torical genre and his effective style of handling détail may be measured 
by the two canvases of vastly different subject and conception, Yet 
his “Market Day at St. Andrews” prepares us for his very late “Escape 
of Mary, Queen of Scots,” shown at the Royal Academy in 1837. 

It would appear that Mr. McCormick deliberately planned that 
his collection should exemplify in equal degree both portraiture and 
landscape painting in England. Consequently, we find Richard Wilson 
painting a sunny picture with a large mass of warm cloud and a liquid 
touching in leafage. Typical in his classical manner is the “Bridge of 
Augustus at Rimini.” We find ourselves in sympathetic and uplifting 
mood when confronted with the works of Turner, the one man who saw 
nature in relation and subjection to the human soul. It happens that 
his “Bath Abbey” dates from 1795 and is so early an essay by him in 
oil—in contradistinction to his masterly achievements even by that 
date in the water color medium—that it actually precedes by two vears 
the earliest of his oils preserved in the London National Gallery to-day. 
Three years later, in 1798, while tramping from place to place, and 


finding himself on the confines of Snowdon, he painted the very charm- 
ing “Waggoners: Early Morning.” His exact contemporary, but less 
brilliantly original co-worker, Constable, gives us a page of English 
cultivated landscape, leaving untouched its mountains and lakes, in 
his “Hampstead Heath.” It is a rustic subject rather than a visualized 
landscape that Barker of Bath places before us in his ‘‘Shepherd’s 
Dog,” painted in 1837, the year of Constable’s death. 

Examples of the Norwich school of landscape painting are still 
far from numerous on this continent, and for that reason we may lay 
stress on “The Edge of the Wood” by John Crome, the head and founder 
of the School. If Crome painted “for the sake of air and space,” as 
he maintained, Cotman found his professional activities equally unre- 
munerative. His “Signal Tower at Yarmouth” is gently fused in 
tone, while Stark in his “Near Thorpe” and “Landscape” paints with 
loving care the structure of tree, trunk, branch and leaf as synthetically 
related. Henry Dawson and George Vincent follow in their wake, and 
P. Nasmyth, “the Scottish Hobbema,” shows much detail in the 
handling of a simple subject. ‘Then follow Callcott and Clarkson, 
Stanfield, Mueller and Linnell, with William Linton painting a “Moun- 
tain Lake.” The antiquarian will find delight in a study of ‘*The 
Warships of Admiral Nelson” as presented by Thomas Luny, and the 
landlubber will dwell on the old-time appearance of Pollard’s ‘Coach 
versus Steam.” To Landseer we naturally turn for animal portraiture 
and anecdote, and his “Dog Jolly” finds a place in our chronological 
survey. Doubtless, the writer who once contended that “the pigsties 
of George Morland are as aesthetic as the drawing-room pieces of 
Lancret” would urge upon us the claims of his “Contentment,” and 
would extol the simple beauties of his ““Noonday.” If William Collins 
also paints animals, he renders them in a different setting and makes 
them play their part in the daily amusements of natural and lively 
children residing in country places. In due course we turn again to 
portraiture, and so encounter the modern mood and simple appeal 
presented by G. F. Watts in his “Portrait of Mrs. Val Prinsep.” 

We must briefly allude to the few paintings by Old Masters of 
the foreign schools, at the head of which comes Moro’s “Lady” accom- 
panied by a “Young Lady” by Mierevelt. To more modern times 
belongs Pietro di Rotari’s “Portrait of Marcolini.” 

We shall not be surprised to read that when the pictures of this 
collection were exhibited on public loan in the Art Institute, Chicago, 
in January, 1895, they were regarded as comparing favorably with 
certain of the large municipal collections in the provincial towns of 


England. Moreover, they were nearly all placed on exhibition in 
1898 in the Carnegie Institute, Pittsburgh; Copley Hall, Boston, in 
1900, and as recently as September, 1917, they were again shown for 
five weeks in the Art Institute, at Chicago. 

_It may be added, in conclusion, that the main body of the private 
catalogue compiled many years ago under Mr. McCormick’s super- 
vision has for the most part been adapted to present purposes. But, 
unfortunately, it has been found necessary to reduce the volume of 
descriptive matter contained in it. 

Maurice W. BrockweE.t. 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute arise 
between two or more bidders, the auctioneer shall either decide the same 
or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots for the benefit of such 
purchaser, and the deficiency (if any) arising from such re-sale shall 
be a charge against such purchaser. 

4, Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between the 
hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 


which the Association is in no wise engaged, and will not be performed 


by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the pur- 
chaser. Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 
for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 


within ten days from the date of the sale thereof. 


7. Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuineness or authenticity of any 
lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold “‘as is” and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby wouid become responsible 
for such damage as might result were his opinion without proper 


foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


THE AMERICAN ART ASSOCIATION 
MANAGERS 
SALE IN THE GRAND BALLROOM OF 
fie PLAZA HOTEL 


Collection of the late 
R. HALL McCORMICK 


Evening ot Thursday, April 15, 1920 


To save time and to prevent mistakes each Purchaser will 


oblige the Managers by filling in this slip and handing it 
to the Record Clerk or Sales Attendant on making the first 
purchase. 


Purchaser’s Name 
Address in Full 


Amount of Deposit- 


EVENING SALE 


THURSDAY, APRIL 15, 1920 


IN THE GRAND BALLROOM 
OF THE PLAZA 


BEGINNING AT 8.15 O'CLOCK 


‘June 


JAMES A. O'CONNOR 
Sanwa, gf 


EncuisH Scuoor: 1793—1841 


1I—_- LANDSCAPE 
Height, 18 imches; length, 24 mches 
THe country road is. animated by the placing of three figures before 


us. With them are contrasted the pensive woman sitting at the road- 
side. Yet from the distance approach even other figures. 


JOHN SELL COTMAN ale 


Norwicu ScHoo.r: 1782—1842 


F300 


29-THE SIGNAL TOWER AT YARMOUTH 
Height, 16 inches; length, 21 wmches 


In the distance is the Signal Tower, with the undulating line of shore 
beyond, softly outlined through the misty atmosphere. In the fore- 
ground are several herring-boats, their sails of warm brown tint 
mingling contrastingly with the golden warmth of the sky. The pic- 
turesque figure of a fisherman is seen in the immediate foreground, as he 
drags his net along the shore toward his boat. 


From the collection of Frederick Chapman, Esq., of Dudley Hall, 
Gloucestershire, England. 


Purchased from Wallis & Son, London, in August, 1893. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 52. 


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GEORGE VINCENT 


Norwicu ScuHuoo.u: 1796—1830 Ree 
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3—LANDSCAPE : 
Height, 14% inches; length, 2014 inches 


Turoucu the soft windy clouds of an English sky the sun is breaking, 
and lights up the peaceful expanse of green pasture to the left of the 
picture. In the foreground a group of cattle are grazing by the bor- 
ders of a quiet, rush-edged stream, their dark forms reflected in its 


clear depths. 
Signed, and dated 1831. 


From the collection of A. W. Dunn, Esq., of Liverpool, England. 
Purchased from Stephen Gooden, London, in September, 1892. 
Exhibited at the Art Institute, Chicago, 1895. 

Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 64. 


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JAMES STARK Marts: Tiles Yo. 


Norwicu ScHoou: 1794—1859 


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4—LANDSCAPE 
Height, 1814 inches; length, 251% wmches 


To the left of the picture a stream, shadowed in the foreground by 
many an overhanging tree upon its borders, gives back the bright re- 
flection of the sunny sky. To the right, in strong contrast to the 
brilliant heavens and open country, is massed the dark foliage of a 
deep forest. A winding road, marked by the ruts made by heavy wheels, 
enters the wood. By the rush-bordered margin of the stream, in the 
foreground, a boat is fastened, its two occupants lazily pursuing the 
angler’s craft. 


Purchased from Arthur Tooth & Sons, London, in December, 1894. 
Exhibited at the Art Institute, Chicago, 1895. 
Ealubited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 62. 


- 


GEORGE MORLAND 
EncusH: 1763—1804 


A - 
5—A RUSTIC COTTAGE ((. Cider 


i by SO Height, 121% imches; length, 155 inches 


To the right of the picture stands a cottage, its thatched roof hardly 
distinguishable from the green depths of the forest behind. Upon the 
gnarled roots of a fine old beech tree, which fronts the cottage, rests 
the laborer at the noon-hour. His wife has brought to him their child, 
while in the doorway of the cottage sits the grandmother, looking out 
upon the trio. To the left of the picture, the soft clouds are breaking 
overhead. 


Signed, dated 1793, on the right. 


Apparently the picture lent to the Exhibition of Old Masters at the 
Royal Academy in 1876, No. 94, as “A Rustic Cottage, figures in 
the foreground,” by Joseph Robinson. It is the companion to a 
“Wood Scene.” 


Purchased from Paul & Dominic Colnaghi & Company, London, in Sep- 
tember, 1892. 


Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 37. 


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JOHN CROME (OLD CROME) 
NorwicuH ScuHoo.r: 1769—1821 


6-—THE EDGE OF THE WOOD ee yrodhiad 


Height, 16% wmches; length, 2144 inches 


Tuer wood, which lies to the left of the picture, is painted in deep 
shadow, save where a gleam of golden sunshine illumines the light foli- 
age of the trees on the border of the meadow. In the half darkness 
of fast approaching twilight may be seen a few sheep browsing, while 
two figures are discerned crossing the field to the right of the picture. 


From the collection of Dawson Turner, Esq., of Norwich, England, 
who purchased it from the artist, as is stated on the back. 


Purchased from Stephen Gooden, London, in October, 1892. 


Ealibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 47. 


sak’ phe JOHN LINNELL. (He. tee Q. 


EncusuH: 1792—1905 


7—MIDDAY 
Height, 193g inches; length, 2452 mches 


Aut is light and brightness, save where a large oak, with wide-spreading 
branches, casts broad shadows over the meadow. In this grateful shade 
the shepherds are resting with the sheep, while in the distance cattle 
are grazing. 

Signed, and dated 1847 
From the John Gibbons Collection. 


Exhibited at the Royal Academy in 1847, No. 245, as “Midday.” 
Purchased from Arthur Tooth & Sons, London, in August, 1894. 
Exhibited at the Art Institute, Chicago, 1895. 

Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited mm Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 59. 


SIR AUGUSTUS WALL CALLCOTT, R.A. 
DO Encuiso: 1779—1844 C ie e?) eDop) 
8—A VIEW OF GREENWICH 
Height, 1814 mches; length, 2234 inches 


Wuite in the distance may be seen the outline of Greenwich Hospital, 
the interest of the picture centers round that portion of the river which 
occupies the foreground, and, mirror-like, reflects the image of the 
crafts upon its smooth, unruffled surface. To the right may be seen a 
vessel with sails full spread, and near it a smaller boat is moored, as 
if for the purpose of unloading. In the immediate foreground the eye 
is attracted to two small rowboats, each with a single occupant. The 
one is making its way toward the larger vessel, the other returning 
therefrom. 


Purchased from Wallis & Son, London, January, 1897. 
Eahibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 51. 


SIR EDWIN LANDSEER, R.A. 


EncuisH: 1802—1873 
9—THE DOG SSOLIY Ww s ( . year nl. 
+ a & Height, 17 inches; length, 21 inches 


Tue expression of the dog’s face, the glimpse of his red tongue, the 
right ear slightly pricked up, and the turn of head and eye are all 
indescribably true. 


The following is an extract from a letter from Sir Edwin which accompanies 
this painting: “Given to dear Eliza Prickett by her devoted and dearly attached 
friend, E. Landseer, who takes this opportunity of thanking her with his whole heart 
for her unceasing, endless kindness during his long and painful illness. Her dog, 
named Jolly, has also been a faithful companion. E. L.” 


Purchased from J. J. Wigzell, London, in September, 1892. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 68. 


JOHN CONSTABLE, R.A. 
EncusuH: 1776—1837 


10—HAMPSTEAD HEATH ar bel 
Cy.aye Ww 


re, ( Panel) 


Height, 191% inches; width, 16 inches 


In the immediate foreground a shepherd is seen driving his flock home- 
ward. To the right rises the upland with its tawny overgrowth, to the 
left is a clump of darker brushwood. In the distance may be seen a 
church, and far beyond, the heath stretches onward to the horizon. 


From the Murietta Collection, formerly in the possession of the Mar- 
chesa De Santuse. Exhibited at the World’s Columbian Exposi- 
tion, Chicago, 1893. 


Purchased from J. J. Wigzell, London, in September, 1892. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 49. 


+525 


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GEORGE BARRETT WILLCOCK 


Encuiso: 1820—1852 A Legler 9 p 


l1li—d THUNDERSTORM 
AT HAMPSTEAD HEATH 


Height, 124% inches; length, 181 iwmches 


To the left of this landscape the heavy storm clouds hang low, adding 
a lurid tone to the trees. Through a rift in the clouds the sunlight 
streams, and falls upon a herd of cattle, as they are driven across the 
heath. Its brilhancy is reflected also in the calm pool, bordered with 
bulrushes, which hes to the left of the picture. To the right stretches 
a broad expanse of wooded country. 


Purchased from Henry Graves & Company, London, in October, 1892. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 73. 


SK sO PATRICK NASMYTH (.\\. iD elel ; 


EncuisH: 1787—1831 


12—DUNKELD FERRY: A VIEW ON THE TAY 


Height, 191 wmches; length, 2518 wmches 


EvENING is approaching. The scene is one of quiet majesty; on either 
side the giant crags rise high; to the right their summits mingle with 
the dark overhanging clouds. A well-laden ferryboat is seen in the 
shadow near the further shore, its occupants clad in costumes that add 
a touch of color to the scene; on the opposite bank a group of men 
stand ready to be conveyed across the placid waters. 


From the Albert Levy Collection. 
Purchased from Thos. McLean, London, in October, 1893. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 54. 


RICHARD PARKES BONINGTON 


B2 Be Enousu: 1807—1828 A A Neely 


13—AN ITALIAN LANDSCAPE 


Height, 18 inches; length, 25% inches 


Ir is eventide. ‘The country stretches onward for miles, a dark line 
of almost unbroken evenness. On the distant horizon is seen the dim 
outline of a cathedral city, still bathed in sunlight. In the foreground 
from under the dark arches of a bridge flows a river, its water a bright 
reflection of the sky. On the left bank rise two trees, one a tall pine, 
its tufted top a darker mass against the dark clouds; near at hand, 
upon the borders of the stream, a group of peasants are resting, deep 
in conversation. Beyond this group is seen a cluster of cottages with 
sloping roofs. 


Exhibited at the Art Institute, Chicago, 1895 and 1919. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited m Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 67. 


Besos soena teases Raabe! EER IY NS Ry 


THOMAS BARKER (BARKER OF BATH) 


2 5 O EnecuisH: 1769—1847 Mrg FI S 4 
14—-THE SHEPHERD DOG 
Height, 19 inches; length, 26 inches 


Tue shepherd, a hardy Highlander, has left his flock, which may be 
seen in the distance, and has paused to administer well-merited punish- 
ment to the collie, who has evidently forgotten his duty, and injured 
instead of protecting two lambs. The shepherd has gathered them in 
his arms, as if to care for them; near at hand stand two old sheep 
with heavy fleeces, who are tending their young. To the left of the 
picture, the dark stormy sky has just broken. 


Painted in 1837, and signed. 

Purchased from Dowdeswell & Dowdeswell, London, in August, 1893. 
Exhibited at the Art Institute, Chicago, 1895. 

Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 46. 


5 eS 


WILLIAM COLLINS, R.A. 
EncusuH: 1788—1847 


15—-CHILDREN PLAYING WITH A BIRDS NEST 
Height, 211% inches; length, 264 inches (Aad 
v4 


In the foreground stands a stone cottage, its window opening outward. 
Upon the wall, near the door, hangs an old-fashioned wicker birdcage. 
The door les in deep shadow; upon the step a mother sits, her baby 
standing near her. ‘The mother’s eyes rest upon.a group of children, 
clad in multicolored garments, who are playing with a nest full of 
young birds. One boy has found another interest, and with an expres- 
sion of mischief upon his face is encouraging a small dog, who, with 
pointed fangs, is meditating an attack upon a cat. The background of 
the picture shows an outhouse and a group of trees, massed against a 
sky of dark gray tint. 

Signed, and dated 1809. 
From the Charles Wells Collection. 


Purchased from Arthur Tooth & Sons, London. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 56. 


oe 


cies Bidet chaortibooe 


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RICHARD WILSON, R.A. 
EncusH: 1714—1782 


16—-THE BRIDGE OF AUGUSTUS AT RIMINI 
Height, 25 inches; length, 30 inches Mita 


Tue distribution of light in this picture makes it a good exponent of 
the artist’s power of expressing both color and atmosphere. ‘The far 
and middle distance, with the red-roofed houses, are bathed in the 
mellow sunlight, while the foreground lies in shadow; a few unobtrusive 
figures are skilfully introduced, thus adding a touch of life. 


From the collection of J. Langham Burton, Esq., of Somersby, Lincoln- 
shire, England. 


Purchased from Henry Graves & Company, London, October, 1892. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ . 
Association, No. 14. 


JOSEPH MALLORD WILLIAM TURNER, R.A. 


EneutsH: 1775—1851 (2 
>3200 oO. r bq 
17—SNOW DON: WAGGONERS— 
EARLY MORNING 


Height, 25 inches; length, 30 inches 


Aw agricultural setting, with Snowdon raising its peak in the distance, 
shows us a white-hooded market-cart; peasants rest beside the stone 
cottages. 


According to Armstrong, “Turner,” p. 232, it was painted about 1798-1800. 


Purchased through the Fine Art Society, London, in May, 1900. 


Bought at the sale of the Right Rev. H. D. Nixon, Bishop of Tas- 
mania, whose father purchased it from Turner at the beginning 
of the century. Subsequently m the collection of Sir William 
Drake. It is signed: W. Turner. 


Exhibited at the Art Institute of Chicago, 1919. 


5) 00, 


THOMAS GAINSBOROUGH, R.A. 
EncuisH: 1727—1788 


18S—A FOREST SCENE WITH CATTLE it 
Height, 23°4 inches; length, 3314 inches ‘& E. dawn<% 


A BROAD pond, overshadowed by heavy masses of foliage. The over- 
hanging atmosphere seems saturated with moisture. In the foreground 
a herdsman is seen leading his cattle to the left along the border of the 
pond. 


Purchased from Dowdeswell and Dowdeswell mm October, 1892. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 20. 


a 


GEORGE MORLAND 


EncusH: 1763—1804 


19—ANIMAL CONTENTMENT Mpg, F.\¢. S0aLee | 


5 (2 Re Height, 2484 inches; length, 30 inches 


In this picture only the gray, cloud-swept sky and the branches of two 
fine old beeches, from which the dead leaves are falling, combine to 
give an idea of unrest and motion. All else is suggestive of unthinking, 
idle contentment. Within the limits of a rough, wooden fence, whose 
gate lies in deep shadow, are three pigs. Upon them the light is cen- 
tered; two are lazily dozing upon the straw-strewn ground, the third 
is enjoying a green cabbage, looking all the while with a sidelong glance 
upon his sleeping companions. fe 


Fully signed on the left. 
Exhibited at the World’s Columbian Exposition, 1893. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 38. 


L276 


WILLIAM ETTY, R.A. 
Encusu: 1787—1849_ Lf. Goodhinn 


20—A NUDE 
Height, 19% inches; length, 251% inches 


Tus picture, which represents the nude form of a woman in a recum- 
bent position, 1s characterized by the finely executed flesh tints, con- 
trasted so ably with the green tone of the couch and the dark rich red 
of the drapery, upon which reposes the head with its auburn tresses. 
The figure is turned slightly to the left, while the weight of the body 
seemingly rests upon the right elbow. The head is thrown back, the 
chin being thus brought into prominence, and the eyes are closed. 


From the Deunestone Collection. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 55. 


WILLIAM ETTY, R.A. 


f Q DD Encuisu: 1787—1849 Ud. (? f R | 


21—_BATHER AT SUNSET 
(Panel) | 
Height, 261% inches; width, 20 inches 


FuLi-LencTH nude figure of a young woman of generous proportions, 
seated with back to the observer on the edge of a small bank which 
its own wild grasses anchor to a flat sandy seashore. Shells break the 
level of the sands about her, low white-caps roll beachward at her 
feet, and far out at the horizon is the last red glow of the departed 
sun, at the ocean’s edge. With figure slightly toward the right, her 
head is turned abruptly to left, her rosy face being seen in profile 
across her left shoulder. She leans slightly upon her left hand, resting 
on pale blue and dark crimson draperies, and her right hand is raised 
in an attentive posture, to shoulder-level. Her dark chestnut hair is 
looped in heavy masses of rich color, and a white blossom-spray stands 
out over the centre of her forehead, emphasizing the deep rose of 
her cheek. 


db Ee 


GEORGE MORLAND 


Eneuisu: 1763—1804 Sse eas be 
) 


22—INTERIOR OF A STABLE 
Height, 2034 wmches; length, 29°4 inches 


Wuite the whole stable is in deep shadow, a strong light is thrown upon 
the figure of a horse, as he stands eating his noonday meal, and brings 
into prominence the shaggy hair upon his forelegs, as well as the some- 
what rustic harness. To the right may be seen the carter, as he leans 
upon his horse, looking at his two dogs, as they tumble in the hay. 


Purchased from Edwin Parsons & Sons, London, nm September, 1892. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 39. 


eee ee a oe, 


ne a a ee 


WILLIAM CLARKSON STANFIELD, R.A. 
=a BO.) Encuisn: 1794—1867 


23—A COAST SCENE | 


Height 18 inches; length, 27 inches 


In the distance may be seen a rockbound coast, and the sails of ships 
at anchor, while in the foreground the surf breaks high upon the 
shores. The fishermen have drawn their boats high and dry upon the 
beach, and their darker tones contrast with the rich yellow of the sand. 
A touch of color is added by the red roof of the fisherman’s hut which 
stands near at hand. 


Purchased from Arthur Tooth & Sons, London. 
Eahibited at the Art Institute, Chicago, 1895. 
Eahibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 60. 


BTS, 


THOMAS STOTHARD, R.A. 


Eneutsy: 1755—1834 am ia cs : 
24 THE MAY QUEEN 
Height, 201% mches; length, 2634 inches 
THrovueu the rifts in the foliage, which seems to form a green curtain 
in the background, the light breaks, and falls upon the figures in the 
foreground, three of whom are crowning the fourth, their queen, with 


the chaplets they have woven. ‘The diaphanous texture of their classic 
draperies, in well-contrasted colors, is satisfactorily portrayed. 


Purchased from Thomas McLean, London. 
Exhibited at the Art Institute, Chicago, 1895. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 30. 


WILLIAM LINTON 
] =—_—_ 
3 Lh 7. 8 ; EncuisH: 1788—1876 (Sct, 


25—THE MOUNTAIN LAKE 


Height, 24 inches; length, 36 inches 


From the high plateau in the foreground is seen a mountain lake, 
whose clear depths mirror back the azure sky, as well as the wooded 
hills, which stand lke sentinels. To the left, upon the grassy upland, 
the sheep are resting under the noonday sun. ‘To the right, upon the 
summit of the highest crag, rises a castle, almost lost among a wealth 
of forest. Along the water’s edge are scattered a few fishing hamlets, 
whose boats, upon the smooth surface of the lake, add life and anima- 
tion to the scene. In the distance the mountains, wrapped in purplish 
vapor, raise to heaven their peaks, capped with snow-white clouds. 


Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 


= 


Association, No. 57. 


# L,00, ROBERT SMIRKE, R.A. 


EneusH: 1752—1845 LD, (¢. Noa 


23—THE NEW PAGE 
Height, 32 inches; width, 22 mches 


A youne lad has apparently just made application for the position of 
page, and now stands on trial before the supreme court of the house- 
hold. The master of the house sits at his ease carelessly indifferent to 
the evident nervousness of the boy, whose knees seem about to give way 
under him, but who, nevertheless, succeeds in winning the favor of his 
young mistress. She stands by, and listens with marked approval, while 
beside her is the housekeeper, who, by her every gesture, expresses 
surprise and alarm that the application of one so young should be 
favorably considered. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 27. 


Rees: ROBERT SMIRKE, R.A. / f) 
, Enouisu: 1752—1845 . 


29—THE OBDURATE MOTHER 


Height, 3114 wches; width, 22 inches 


On a sofa is seated the obdurate mother, attired in a black velvet robe; 
her fan is firmly grasped in her left hand. The pose of the head and 
the expression of every feature denote a decision which will render futile 
the earnest pleadings of her daughter, who sits beside her, and seems to 
desire to add caress to entreaty. The lines of her white-robed form are 
graceful, and her hair falls in heavy tresses to her shoulders. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 28. 


JAMES STARK 
NorwicH ScHoou: 1794—1859 


30—NHAR THORPE 


Height, 25 inches; length, 36 mches 


Wuire clouds float in the pale sky, while the sunshine, slanting through 
the green trees, adds many a touch of gold to the foliage, and a fresh 
luster to the silvery bark of an old beech tree in the foreground of the 
picture. The broad road, which leads far into the forest, is bathed in 
sunshine, broken by soft shadows cast by the overhanging trees. Just 
emerging from the green depths may be seen a country woman with 
blue apron and folded white kerchief, who leads a little child by the 
hand. A man on horseback has paused before the door of a cottage. 
Through an opening in the trees comes a glimpse of the blue hills, 
far distant. 


From the collection of Arthur Anderson, Esq. 

Purchased from Arthur Tooth & Sons, London, in July, 18938. 
Exhibited at the Art Institute, Chicago, 1895. 

Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 61. 


Ea seat ier 


WILLIAM HOGARTH 


a be: 
Fingtise: 1699-21764 Ott 


31—MODERN MIDNIGHT CONV ERS ATION 


Height, 27 inches; length, 36 imches 


ELEVEN congenial spirits, who have already consumed unmeasured 
quantities of wine, are now ready, according to their different ability, 
to attack a capacious bowl of punch. One man, habited in red, has 
already fallen to the floor; another, staggering beside him, will doubt- 
less soon follow his example; one has sunk into a drunken slumber, 
while another, upon the right of the picture, seems to struggle against 
approaching misery. ‘The more steady-headed among the number have 
put a light to their long pipes, and one holds a candle in dangerous 
proximity to his lawn ruffle. The presiding genius of the punch-bowl, 
known as “the rosy-gilled parson,” is a caricature of a well-known 
clergyman of the period, who at times had no regard for his cloth. 


Formerly the property of Mr. Samuel Ireland, author of “Hogarth’s 
Life.” 


Purchased from 8. T. Smith, London, in 1892. 
Exhibited at the Art Institute, Chicago, 1895 and 1919. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 12. 


7 


of ud. (¢, Ieee 


em I5>A%° WILLIAM HOGARTH 


32—A CONVERSATION PIECE 
Height, 41 inches; length, 634 inches 


Peruaps no satirist has ever represented in paint as truthfully as this 
Georgian artist scenes of profligacy in high life and the crude moments 
of rude merriment. In this apartment, with its tiled floor, fourteen 
small figures are grouped in pleasurable spirit. On the left two are 
seated on a pile of books, and a lackey serves them with drink. More 
to the right others are round a table, while several of humbler rank 
stand near the door, at which enters a person of distinction. So faith- 
ful is the rendering of the spirit of the times that paintings hang 
against the green-toned wall. 


5% 


uv, 


O. 


RICHARD WILSON, R.A. 


EncuisH: 1714—1782 ic, mE oS Oe ; 


LANDSCAPE 
Height, 22 inches; length, 35 inches 


33 


Tue sky, of a delicious blue, parts to the right of the picture and dis- 
closes a golden glory, which glints and glimmers over the trees in the 
foreground. The softly flowing stream reflects the brilliancy of the 


_sky, and the overhanging branches of the trees upon its banks. Upon 


the right of the picture the twisting boughs stand out against the 
sky, while to the left the tones are more sombre, touched here and there 
by a gleam of light, and in the background the gray mountains stand 
out in relief beside a heaven of softer blue. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 15. 


a it ieee gt 


SIR AUGUSTUS WALL CALLCOTT, R.A. 


. Encusu: 1779—1844 C : IX J (2 Ul 


34—WARWICK CASTLE 
Height, 28 inches; length, 36 inches 


In the distance rises the castle, wrapped in the blue haze of morning, 
yet standing out against the pale sky, with its hght summer clouds. In 
the foreground, where a meadow slopes down to meet a stream of green- 
blue water, there stands a man busy with the horses which have been 
allowed to pasture there. To the left a boy is steering his boat down 
the stream. The vista narrows, until it is crossed by a wooded terrace, 
adding many another tint to the already rich variety of green. 


From the Lucy Collection. 

Purchased from Thomas McLean, London, in July, 1893. 
Exhibited at the Art Institute, Chicago, 1895. 

Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 50. 


ZOO, WILLIAM JAMES MUELLER 
35—A VIEW IN NORTH WALES (oT As» polar , 


Height, 28 inches; length, 36 inches 


AcainsT a sky of deep indigo tint, with hight floating clouds, rises high 
a heavy mass of foliage in mingled tones of green. Below is seen a 
mountain torrent, as it frets its way onward over its rocky bed. As 
the water whirls and foams, it leaves bare many of the higher boulders, 
which stand out in strongly contrasted colors. In the foreground a 
woman and a boy, clad in rustic garb of many a vivid shade, add a 
touch of life to the scene. 


From the Baring Collection, London. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


SIR DAVID WILKIE, R.A. 
1) Bel 


ScorrisH: 1785—1841 OMS 


36—_MARKET DAY AT ST. ANDREWS, 
SCOTLAND 


Height, 2514 inches ; length, 4214 wches 


Tue glimpse of the sea in the distance and the characteristic architec- 
ture of the town make an admirable setting for the figures and scenes, 
about which the main interest of the picture centers. Here may be noted 
the linen-draper, auctioneering his goods, while in the foreground a 
countryman bends over to unpack his crockery, and his “gudewife” 
concludes a bargain with a couple, whose festive garb marks them as 
a newly-wedded pair. ‘To the left may be seen the never-failing Italian 
with his hand organ and monkey. On the right are the many stalls, 
where multifarious bargains may be struck; foremost of all the shoe- 
maker stands prominent, as he fits a shoe to a fair lady’s foot. 


From the collection of Alfred Woodewiss, Esq., of Derby, England. 
Purchased from Arthur Tooth & Sons, London, in August, 1894. 
Exhibited at the Art Institute, Chicago, 1895. 

Exlibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 538. 


SRR ieseaes Ra 


0. Thhe. 


RICHARD PARKES BONINGTON 
Eneuiso: 1801—1828 
37—VENICE . 
Height, 28 inches; length, 44 inches 
Tue gold glitter of the sun, on the sparkling waters of a by-canal in 
Venice, makes gay a scene with sailing vessels floating near buildings 


and a church. In their daily occupations are men on a raft that is 
moored near piles. A small bridge is in the right distance. 


{aera " npeneenananceees . erresiccerne spate toy 
enon Bae IRE an se : 


2 RICHARD WILSON, R.A. By ae 
i | ‘> Jom Enerise: 1714 —1782 C. 


88—CLASSIC ITALY 
Height, 41 inches; length, 51 wmches 


A contavino with his fishing rod stands in poetic reassurance near a 
stone under a tree that spreads its branches on the bank of a slow- 
running river. Cattle are at pasture at the top of a hill on the right 
and from it gushes out a torrent of water. A classical temple protrudes 
its massive lines into the left foreground. Yet again we have buildings 
of classic times amid a romantic setting that ennobles the distant 
scene. 


9 


1, 


THOMAS GAINSBOROUGH, R.A. 


EncuisH: 172'7—1788 


39—_LANDSCAPE 


Height, 40 mches; length, 50 inches 


In the foreground of this picture, against an azure sky, is outlined in 
contrasting tones of green the feathery foliage of a group of large oak 
trees, which grow not far from a pond, where a thirsty cow has already 
paused for water, while two others are ready to follow her example. 
In the background to the left stand a few cottages, almost concealed by 
a mass of forest green, while to the right may be seen in a stronger 
light, on the crest of a gentle hill, a farmer with his horse and wagon, 
and on the sloping side a flock of sheep nibbling the tender grass. 


Purchased from J. J. Wigzell, London. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 21. 


Ceaweeti | 


FO 


JOSEPH MALLORD WILLIAM TURNER, R.A. 
EncusH: 1775—1851 na 


Daw 1 
J 


40—BATH ABBEY 
Height, 42 inches; length, 50 inches 


Eariy morning light falls on the fagade of the Abbey, with its strange 
architectural features. Figures pass through the square, and others 
are outside the prosaic shop on the right. 


Painted about 1795, according to Armstrong, “Turner,” p. 218. At that very 
early period of his career, when he was only twenty, he worked as a topographical 
draughtsman and produced tinted drawings. It was only now that he began to 
practise in the oil medium. Indeed, this precedes by two years his earliest oil 
painting, that of “Moonlight at Millbank,” in the London National Gallery. 


Purchased from Lawrie & Co., London. 
From the collection of C. Lyne Stephens, Esq. 


This picture is catalogued in Sir Walter Armstrong’s new work on 
Turner. 


a, 


THOMAS GAINSBOROUGH, R.A. 


EncusH: 1727—1788 WD, f<. yea 


41—A GIRL WITH PIGS 


Height, 50 inches; length, 591% inches 


On a stone near a building in the left foreground of our landscape 
setting is a peasant girl. She gives little thought to her tattered dress 
of brown and red, but surveys with interest the pigs which lick up their 
milk out of a brown dish on the right. Sheep browse under the trees in 
the distance of an undulating landscape. 


Sir W. Armstrong, “Gainsborough,” p. 208, describes this picture and states 
that it was engraved by Richard Earlom. 


Exhibited at the Art Institute, Chicago, 1895. 


Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


5 ) 


po 


SIR DAVID WILKIE, R.A. 
ScortisH: 1785—1841 tw). 


(?, Nee 


42--THE ESCAPE OF MARY, QUEEN OF SCOTS 
Height, 47 inches; length, 65 inches 


Tue artist represents history here with the aid of eleven small figures. 
The ill-fated Queen, standing majestically in the center, wears robes of 
white and red lined with ermine. A cavalier is about to help her into 
the boat in the foreground, while much agitation is rendered in the 
figures in the background, where the prison walls bespeak the sombre 
environment. 


From the collection of E. Rose Tunno, Esq. (for whom it was painted). 
Purchased from Dowdeswell & Dowdeswell, London, in May, 1902. 
Exhibited in the Royal Accademy in 1837. 


MICHAEL JANSZEN MIEREVELT 


Dutcu: 1567—1641 Siawan ) 


483—PORTRAIT OF A YOUNG GIRL 
_ (Panel) 
Height, 26 inches; width, 21 inches 


Wutte the general tone of this picture is dark, the coloring of the face 
is rich and warm, the rosy tint of the cheeks enhancing the brightness 
of the large brown eyes. The décolleté black gown is relieved by the 
full sleeves, slashed with white, by the elaborate lace collar, which stands 
out far behind as a stiff ruff, and by the heavy gold chain, which, after 
encircling the girl’s shoulders, falls to her waist in front. 


Exhibited at the Art Institute, Chicago, 1895. 
Exlibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 2. 


5 Os SIR ANTONIO MORO 
iB |S 
DutcnH: 1512—1576 


44—PORTRAIT OF A LADY 

Height, 38 inches; length, 271% wmches 
Tue black dress, the full sleeves slashed in red and puffed with white, 
the white chemisette and head-dress, all bespeak the dignity and self- 
composure of a middle period of Dutch art. Round her waist and 


lightly through her hand passes a massive gold chain to denote the rank 
of the lady. We almost lose sight of the small dog in the foreground. 


From the collection of John Ellis Churchill, Esq., of Bath. 
Purchased from Dowdeswell & Dowdeswell, London, in May, 1906. 
Exhibited at the Art Institute of Chicago, 1919. 


S 


> 


CONTE PIETRO DI ROTARI 
Irauian: 1'707—1762 A. 


45—PORTRAIT OF COUNT MARCOLINI 
Height, 36 inches; width, 29 inches 


Tue man here represented, who was a director of the Dresden Porce- 
lain Works from 1708 to 1762, is one whose easy carriage and delicate 
tapering fingers, in the act of taking a pinch of snuff, mark him out as 
a man of rank and position, while his every feature denotes decision of 
character. The colors are here dexterously blended and contrasted, 
the white wig, and the blue cloak thrown over the right arm, with the 
artistic red of the velvet coat and vest, richly embroidered in gold. 


Purchased from J. Dray, Jr., Dresden. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Evhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 18. 


CORNELIS JANSSENS nee j 


Dutcu: 1590—1663 


46—PORTRAIT OF A LADY 

Height, 45 inches; width, 341% wmches 
AMPLE in her proportions and rendered with auburn hair, decorative 
pearl ornaments and bracelets, the lady appears before us in the fine 


attire of a black dress which has its full sleeves lined with white. In 
her sober splendor she is represented with a light green background. 


Exlibited at the Art Institute of Chicago, 1919. 


SIR PETER LELY 


EncuisH ScHoou: 1618—1680 tcark 
“we 


47—PORTRAIT OF THE COUNTESS 
OF PORTLAND 


Height, 461% inches; width, 384 inches 


One of the beauties of the Court of Charles II; her tapering fingers 
play idly with a small ornate teapot, containing, doubtless, that bever- 
age, which was still a luxury for the few. The short dark curls cluster 
closely together around a face, almost childlike in its soft outline. The 
eyes are dark and almond-shaped with drooping lids, expressive of a 
languid insouciance, the mouth curved with a full under lip; the harsh 
lines of the bodice are relieved by a fold of lighter tone and by the soft, 
flowing sleeves, while the train of rich blue lights up the brown tints 
of the picture. The background, with its glimpse of sky to the left, is 
rendered more conventional by the introduction on the right of a 
group of carved cupids. 


This portrait represents Frances, wife of Jerome, 2nd Earl of Portland. She 
was the second daughter of the 3rd Duke of Lenox, and was born 1617. The 
Countess of Portland was buried in Westminster Abbey on March 24, 1694. 
Purchased from Dowdeswell & Dowdeswell, London, September, 1892. 
Exhibited at the Art Institute, Chicago, 1895. 

Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 6. 


- 


0, 


JOHN RILEY 
EncuisH: 1646—1691 Marrtork Cute 


28, 
48S ACH ARISS A Me 
(Panel) 


Height, 29 inches; width, 231% mches 


Tne prevailing tone of this picture is dark, relieved by the golden hair 
of the lady, which forms a nimbus around a face illumined by large 
dark eyes. The strong lines of the bodice are softened by the border 
of delicate lace, which also edges the sleeve and nearly meets a bracelet 
of pearls. A row of the same encircles the throat, and from each ear 
hangs a single drop. The left hand, the only one visible, holds a fan. 

Lady Dorothy Sidney (1617-1684) about 1635 met Edmund Waller, the poet, 


and rejected his offer of marriage. She became the Sacharissa of his poems, but 
married Henry, Lord Spencer, in 1639. 


From the Grindley Collection, London. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 8. 


50° 


JOHN OPIE, R.A. _ eet OF 
5 a 


Encuisu: 1761—1807 


49—PORTRAIT OF MAN 
Height, 24 inches; width, 20 inches 
He appears before us in a simple black coat, the sombre tones of which 


are In a measure relieved by a white cravat which also stands out 
against the neutral-toned background. 


Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


oy 


Go 


WILLIAM HOGARTH 
Eneutsu: 1697—1764 


Qtawe" | 


50—PORTRAIT OF A YOUNG WOMAN 

In a feigned oval: Height, 30144 inches; width, 25% inches 
Tue face, under the quaint lace cap with its bright blue bow under the 
pointed chin, is one which, in the upward curving corners of the mouth, 
is expressive of quiet but humorous self-reliance. The tone of the pic- 


ture is a luminous gray relieved by the dark auburn of the hair, which 
is almost hidden under the cap. 


Purchased from Dowdeswell & Dowdeswell, London. 
Exhibited at the Art Institute, Chicago, 1895 and 1919. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited m Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 11. 


SIR HENRY RAEBURN, R.A. 
ScortisH: 1756—1823 C 


51—PORTRAIT OF A MAN 
Height, 22 inches; width, 18 inches 


Srrone in its characterization, stolid in its self-composure, fully 
secure in its own immediate environment, this lifelike portrait of a 
man is assigned to Raeburn because of its virility. The clear eye, the 
deep shadow under the nose and the rapid brushing in of hair are in 
marked contrast of achievement with the sketchily rendered outlines 
of the coat and broad shoulders. Indeed, had the whole figure been 
carried through to completion, it would have been so massive an object 
as to lose part of its attractiveness. 


GEORGE FREDERICK WATTS, R.A. 


ia 
EncuisH: 1817—1904 Mag Martell Ine 


52—PORTRAIT OF MRS. VAL PRINSEP 


Height, 27 inches; width, 23 inches 


Tue portrait is Madonna-like in expression, yet strongly individual. 
The blue eyes, so deeply set, in no way belie the character of the mouth: 
with its curved upper and full under lip. The hair, of a dark auburn, 
is parted above the forehead. A scarf of rich Titian red, thrown loosely 
over the shoulders, intensifies the warm coloring of this picture. 


Florence, daughter of Frederick Robert Leyland, of Wootten Hall, Liverpool, 
married, in 1884, Valentine Cameron Prinsep, R.A. (1838-1904), a man of versatile 
accomplishments who was the friend of Dante Gabriel Rossetti and Lord Leighton. 
She, together with three sons, survived him. Watts painted the portrait of the 
husband also. 

This is the picture which was exhibited at the Grosvenor Galleries, 1882, No. 201; 
and at the New Gallery, 1892, No. 168. 

_ Mrs. Prinsep was a sister of Countess Somers, and aunt of Lady Henry 
Somerset. 


Purchased from Robert Dunthorne, London, in April, 1893. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 72. 


HOO» JOHN OPIE, RA. & cape, dak 


EncusH: 1761—1807 


583—PORTRAIT OF YOUNG MAN 
Feigned oval: Height, 30 inches; width, 25 inches 


Tue face here represented in three-quarter profile to the right is that 
of a young man, upon whose forehead hair of a dark hue grows low. 
Well-arched brows surmount blue eyes ; the face is clean shaven, though 
the upper lip is slightly shaded; the chin and mouth are firm. The 
creamy tint of the neckcloth throws into prominence the flesh tints of 
the face, while soft ruffles fall over the hands, crossed in front. 


Purchased from Dowdeswell & Dowdeswell, London, in June 1902. 
Exhibited at the Art Institute, Chicago, 1895 and 1919. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 36. 


SIR PETER LELY 
EncuisH Scuoou: 1618—1680 ._ ~ Rt Sl 


pi 
54—PORTRAIT OF MADAME APHRA BEHN 
Height, 30 inches; width, 25 mches 


Tue dark background of this picture, with its oval scroll-work, seems 
to form a fitting frame for this portrait, from which the eyes, shadowed 
by dark brows, look out with an easy nonchalance, while the mouth, 
with its curving upper lip and full under one, is expressive of the same. 
The pure oval of the face is in no way marred by the soupcon of fulness 
beneath the chin. The soft golden-brown hair gleams with pearls and 
the brown bodice is edged with delicate white, which rests lightly on 
the sloping shoulders, from which a black drapery has already fallen. 


From the collection of Philip H. Howard, Esq., of Corby Castle, 
Carlisle, England. Eahibited by him wm the National Portrait 
Exhibition, 1866, No. 864. 


Purchased from Paul and Dominic Colnagh s Company, London, 
September, 1891. 


Exhibited at the Art pape Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 7. 


-() ee 


f \4 4y 4 
FRANCIS COTES, R.A. 
Encuisu: 1725—1770 


55—PORTRAIT OF A YOUNG GIRL 
Height, 30 inches; width, 25 mches 


Tue face, which looks out from the canvas, is that of a young girl of 
the brunette type, whose dark hair is coiled high, and surmounted by 
closely entwined strings of seed-pearls. Some of the strings have fallen 
out of place, and rest in careless negligence upon the drapery of gray- 
blue tone which covers her shoulders and is loosely knotted in front, 
revealing the soft lines of throat and neck and the chemisette of’ white 
below. ‘The dark eyes are surmounted by delicately penciled brows, the 
forehead is low, the lips curved, the chin finely molded, adding a pi- 
quancy to the perfect oval of the face with its soft flesh tints. 


Purchased from S. P. Avery, Jr., of New York, October, 1895. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 18. 


Cv 
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Bde. 
SIR JOSHUA REYNOLDS, P.R.A. 
EncusH: 1723—1792 
56—THE OBOE PLAYER 
Height, 30 inches; width, 25 inches 
Facine the front, with his eyes turned to the left, he wears a blue coat 


and white cravat. He holds his oboe in his right hand, and poses before 
us with a curtain background on the left. 


Exhibited at the Art Institute of Chicago, 1919. & 


WSS 


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THOMAS GAINSBOROUGH, R.A. 


EncuisH: 1727—1788 


57—PORTRAIT OF A LADY OF QUALITY 
In a feigned oval: Height, 30 inches; width, 25 inches 


Tue face, with its high thin nose, delicate lips and finely moulded chin, 
is eminently patrician. The powdered hair rises in soft lines from the 
forehead, which is marked by well-defined, expressive eyebrows, shading 
dark eyes. The ethereal blue of the cape, and the pearly tone of the 
swansdown, which edges it, mingle contrastingly with the brown of the 
under-wrap. 


From the collection of the late William Winch, Esq., of Wyminus Park, 
Hatfield, Herts, England. 


Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 19. 


ae 


C. Tek, 


GEORGE ROMNEY 
EncuisH: 1734—1802 


58—PORTRAIT OF LADY HAMILTON 
Height, 31 inches; width, 2514 imches 


Lapy Hamitton is here represented as an Irish dancing girl. The 
sinuous lines of her lithe figure and the curve of her upraised right arm 
are suggestive of the grace of motion. Her color is heightened by the 
rapid dance. The deep red tone of the scarf, which floats behind her, 
adds a rich effect to the warm brown shade of her simple gown. ‘The 
landscape in the background shows a distant mountain peak, crowned 
with light, against a cold gray sky. 


Purchased from Charles Sedelmeyer, Paris, in July, 1893. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. — 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 24. 


m SIR WILLIAM BEECHEY, R.A. 


> Q d Ds EnecuisH: 1753—1839 ¢ . CLE , 


59—PORTRAIT OF LADY BEECHEY 


Height, 311% inches; width, 26% imches 


THE artist’s wife, in a pose at once easy and graceful. She has paused, 
pencil in hand, and her blue eyes look up from under the drooping brim 
of a large straw hat. The brown tone of her dress is relieved by the 
almost transparent white fichu, carelessly knotted in front. The back- 
ground is bright with the glow of the afternoon sun, while a well-wooded 
park stretches into the far-off distance. 


Miss Anne Phyllis Jessup, who married Beechey about 1787, was an artist her- 
self; she exhibited drawings at the Royal Academy before her marriage and 
miniatures afterwards. They had eight children born to them by 1800, when Beechey 
exhibited a portrait of her (No. 179) together with the youngest of the children.— 
W. Roserts: “Beechey,” 1907. 


Purchased from George Attenborough, London. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 29. 


JOHN HOPPNER, R.A. ’ 
EncusH: 1758—1810 (?. Decne 
4) Q OO. 


60—PORTRAIT OF A YOUNG LADY 
Height, 30 inches; width, 25 imches 


Tue face here portrayed is full of smiling mischief. The brown curls, 
which shade the face, are surmounted by a large hat with a band of 
blue. The white shawl, worn over a drapery of black, is fastened at 
the waist by a girdle of deep turquoise blue, a touch of blue which 
serves to light up the otherwise neutral tints of the picture. The back- 
ground shows dark foliage against a blue sky. 


Purchased from Kramer Brothers, London. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 34. 


GEORGE ROMNEY : 
£24 Do. Encrisu: 1734—1802 (v. Cae venti 
61—PORTRAIT OF LADY BEAUCHAMP 

Height, 3804 inches; width, 25 inches 


Tue portrait, which here stands out from the canvas, is that of a 
woman whose delicate features and well-poised head denote high breed- 
ing. Her slender throat rises, pillar-like, from the soft folds of her 
white gown, and her golden-brown hair, which falls in ringlets on her 
shoulders, is surmounted by a white turban. 


Isabella Anne Ingram Shepherd, eldest daughter and co-heir of Charles, 9th 
Viscount Irvine. She married, 1776, Viscount Beauchamp (afterwards 2nd Mar- 
quess of Hertford). She died April 12, 1836. She sat for this picture in July and 
August, 1780.—Warp and Roserts: “Romney,” 1904, Vol II, p. 9. 


Purchased from Thomas Agnew & Sons, London, in November, 1892. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exlubited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 25. 


SIR THOMAS LAWRENCH, P.R.A. 


Enewiss: 1769—1830 Viana F a 


62—PORTRAIT OF THE MARCHIONESS OF ELY 
Height, 3014 inches; width, 254% inches 


mx, 00°. 


Tue background of this picture is a dark sky, broken to the left by one 
rift of light. To the right is a column of white marble; near this the 
Marchioness stands, her right arm, over which is thrown a scarf of 
amethystine hue, resting upon a stone balcony. Her hair is blue-black, 
her eyes blue, while her rosy lips are somewhat full in their curves. 
Her white empire gown is décolleté, and unadorned save by a large 
amethyst brooch, which serves to hold in its place a crimson flower, the 
one touch of brilliant color in the picture. 

Anne Marie Dashwood, daughter of Sir Henry Watkin Dashwood, Bart., 
married in 1810 John, 2nd Marquess of Ely. She died 1857. 

A portrait of Lady Ely by Lawrence was sold out of the Dashwood collection 
at Christie’s Dec. 14, 1907. According to Armstrong: “Lawrence,” p. 126, it was 
painted about 1805, 


Purchased from Thomas Agnew & Sons, London, in November, 1892. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 42. 


GEORGE MORLAND 
Encusu: 1763—1804 


4) D9O 


6838—PORTRAIT OF H. WRIGHT, ESQ. 
Height, 30 inches; width, 25 inches 


Tue face upon the canvas is that of a genial country squire, upon 
whose cheek glows the hue of health. The gray-white hair seems to be 
rapidly vanishing from the forehead, the eyes are of a clear blue color, 
the face clean shaven, and the mouth firm, while the chin is slightly 
raised over a bow of white lawn, which rests upon a striped neckcloth 
of blue and cream. The plump right hand holds a landscape, which 
bears the signature, “G. Morland.” 


Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 40. 


THOMAS PHILLIPS, R.A 


Encuisu: 1770—1845 cane 


64—PORTRAIT OF THOMAS MOORE 


Height, 29 inches; width, 24 inches 


Tuts represents Moore as a young man. The bright dark eyes, set 
under well-defined black brows, and the curves of the mobile mouth 
denote the Irishman as well as the poet. The vivid tones of his com- 
plexion are enhanced by the black coat and stock unrelieved by any 
color, save the touch of white in collar and shirt. 

Thomas Moore became the national lyrist of Ireland by his publication of “Irish 
Melodies.” He also acquired a European reputation by his “Lalla Rookh” of 1817. 
Traveling abroad, editing Byron’s works and publishing many poems in his own 
name and under a pseudonym, he died near Devizes. A portrait of him, aged forty, 


engraved by Holl after Thomas Phillips, is prefixed to Vol. I of the “Memoirs.” 
Maclise, Shee and Sir Thomas Lawrence also painted his portrait. 


This portrait was exhibited at the Exhibition Palace, Dublin. 
Purchased from A. Smith, London. 

Exhibited at the Art Institute, Chicago, 1895. 

Exlabited at the Carnegie Institute, Pittsburgh, 1898. 


Evhibited in Copley Hail, Boston, in 1900 by the Boston Art Students’ 
Association, No. 79. 


meOOs 


0. Ferran 


DANIEL MACLISE 
EncutsH ScHoor: 1811—1870 


65—A LADY PLAYING A GUITAR 
Height, 42 mches; width, 30 inches 


Macutsr, perhaps more than any other painter, had the gift of por- 
traying a lady of ease and cultured environment in early Victorian 
days in England. The roses in the hair, the black mantilla, the guitar 
resting on a stone, all play their part in the telling of the story. 


JOHN OPIE, R.A. 


Encuisu: 1761—1807 


66—PORTRAIT OF LADY HAMILTON 
| AND CHILD 


Height, 4114 inches; width, 311% inches 


Tue face of Lady Hamilton, which is here upturned as if to meet the 
gaze of someone beyond, is lit up with an expression of wonderful sweet- 
ness. Her dark chestnut hair is encircled by a band of white; her 
gown is also white. She holds by the hand a little boy, whose vivid 
complexion and auburn hair relieve the broad and pronounced lights 
and shadows of this picture. Two three-quarter-length figures. 


A portion of the picture of Samuel and Eli, in which Hannah presents 
Samuel to Eli, appears ‘to be that owned by Mr. R. Hall McCormick, under the 
title of Lady Hamilton and Child. But the fillet in Hannah’s hair is white, not 
black, and Samuel is clothed instead of nude in the American picture, while the 
background is dark, apparently foliage, instead of architectural. Mr. McCormick 
has a small line engraving showing only the figures of Hannah & Samuel; no 
engraver’s name. Size of the original picture 84 x 60 in.; size of the picture 
owned by Mr. McCormick, 4114, x 3114 in. Painted for T. Macklin 1783-96. 
Engraved by W. Bromley. In the collection of John Carwardine, sold at Christie’s 
Feb. 22, 1890. Formerly owned by Samuel Favell, of Camberwell. Present owner, 
R. Hall McCormick—A. Eartann: “Opie,” 1911, p. 332. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 35. 


tS: 


GEORGE ROMNEY a eae, ABN 


EneutsH: 1734—1802 


67—PORTRAIT OF ALEXANDER BLAIR 


Height, 42 inches; width, 34 inches 


Tue face betokens decision and refinement. The eyes are deeply set 
under heavy brows, the nose thin, the chin squarely molded. The black 
velvet coat forms a contrast to the ruddy complexion tints, and to the 
white ruffles at neck and wrists. The hands, with their long tapering 
fingers, are closely interlocked, the knees are crossed, the figure seated 
in a large armchair. 

Alexander Blair, of Castle Bromwich Hall, Warwickshire, and Beaconsfield, 
Bucks, gave sittings to Romney in 1787 and 1789. Romney also painted his wife, 


Mary Johnson, who was well known in the fashionable circles of the time. Warp 
and Roserts: “Romney,” 1904, Vol. II. 


Sold at Christie's Feb. 28, 1891, No. 70. 

Purchased from Charles Sedelmeyer, Paris, in August, 1891. 
Exhibited at the Art Institute, Chicago, 1895. 

Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Evhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 23. 


SIR THOMAS LAWRENCE, P.R.A. 
EncusH: 1769—1830 (F. a ore 


68—PORTRAIT OF CANOVA, THE SCULPTOR 
Height, 42 inches; width, 34 mches 


moe! 


THe sculptor is seated in a large armchair, a letter held in his left 
hand. His cloak of red velvet with its border of sable is open at the 
throat, and reveals a carefully adjusted white neckcloth. All the 
lines of the well-set head, seen in three-quarter profile, mark the man of 
rare attainment. ‘The hair is dark, the brows well defined, the nose 
slightly aquiline, while the thin upper lip gives an expression of refined 
delicacy to the face. 

Lawrence painted two or three portraits of Antonio Marchese di Canova (1757- 
1821), who received Lawrence in Rome in 1819 & corresponded with him subse- 


quently. Such portraits are now in the Vatican and at Holland House, London. 
See Armstrong: “Lawrence,” p. 119. 


Exhibited at the Midland Counties’ Art he Nottmgham Castle, 
in 1881. 


Purchased from A. Smith, London, in January, 1891. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 45. 


p. 0 


ROBERT EDGE PINE 
EncusH: 1742—1790 


$A™OO> 


69—PORTRAIT OF HORACE WALPOLE 
Height, 44 inches; width, 34 inches 


Tue noted antiquarian and littératewr is gaily attired in a flower- 
embroidered white vest and a green coat. Significant is his pose, with 
his left hand leaning on a folio placed on a table by his side with papers 
near at hand. The color scheme of green is reenforced by the note in 
the curtain at the back where the eyes fall on a bookcase that marks our 
sitter’s daily interests. 


Purchased from Shepherd Brothers. 


Searen, Agi. 


4, Uy Qa Pp) >) ° ‘ 
SIR THOMAS LAWRENCE, P.R.A. 
EncusH: 1769—-1830 


70—PORTRAIT OF MISS BARRON 
Height, 445 inches; width, 35 mches 


Tue face, under the broad-brimmed hat with its nodding white plumes, 
is one expressive not alone of sweetness but of animation. ‘The dark 
hair is parted in soft curls, The pose of the figure is graceful and 
unconventional; the right arm, painted in strong shadow, is encircled 
by a bracelet of pearls; the left is raised easily to lay hold upon a 
mantle of red, the one touch of rich color in the picture, for the simple 
gown 1s white. The landscape, which forms the background, is touched 
in many places with blue, which gives good contrastive tone to the 
painting. 

Purchased from Dowdeswell & Dowdeswell, London, in May, 1894. 
Exhibited at the Art Institute, Chicago, 1895 and 1919. 

Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 41. 


oO ; SIR HENRY RAEBURN, R.A. 
0 t 
ScottisH: 1756—1823 — Qs anne" F by 


71—PORTRAIT OF MRS. MACNEILL 
Height, 48 inches; width, 40 inches 


> Se 


From a background of mingled brown and gray looks forth a face 
almost girlish in its soft lines and delicate coloring. The hair, of a 
warm rich brown, clusters in unbound luxuriance upon her shoulders 
and forehead. The figure is three-quarter length. Her white dress 
falls in soft folds upon the brown drapery which helps to form the 
background. ‘The simple bodice, low at the neck, reveals her slender 
throat. Her waist is encircled by a broad girdle of sapphire blue, 
whose floating end is loosely held in her right hand. The face has a 
winsome sweetness ; the eyes are of a deep blue, the lips curved and rosy, 
while the chin is thrown out into clear relief. 


Jean Cameron, a daughter of Sir Ewen Cameron of Fassifern, married Roderick 
MacNeill of Barra. W. Armsrrone: “Raeburn,” 1901, p. 108. 


Sold at Christie’s May 25, 1895. 

Purchased from Paul and Dominic Colnaghi, London, in June, 1895. 
Exhibited at the Art Institute, Chicago, 1895 and 1919. 

Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 31. 


EncusH: 1727—1788 


O THOMAS GAINSBOROUGH, R.A. | 
BDO: : fcart 


72—PORTRAIT OF MRS, ROBINSON 


Height, 50 inches; width, 4014 mches 


Tue general type of the portrait is characteristic of the artist. ‘The 
feathery foliage and the distant landscape to the right form a fitting 
background for the lightly sketched-in figure of the lady, who stands 
with her right arm resting upon the base of a fluted column to the left 
of the picture. Her hair is combed high from her forehead, and 
entwined with blue to match the pervading hue of her costume. 
Elizabeth, daughter of Faithful Fortescue, was born in 1747, and married, at 
the age of twenty-two, Colonel Routh of the Royal Marines. After his death 


she married Alderman Robinson,.who had this picture painted by Gainsborough 
in 1782. 


From the collection of Lord Arthur Hull. 

Purchased from Frederick Davis, London, in May, 1894. 
Exhibited at the Art Institute, Chicago, 1895 and 1919. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 22. 


Bc aman, 098 


SIR HENRY RAEBURN, R.A. 
ScottisH: 1756—1823 


Sen 


73—PORTRAIT OF LORD HAMILTON 
Height, 491% inches; width, 40 inches 


Here, as often in the art of Raeburn, the sitter is placed in a simple, 
green painted armchair. With that his dark blue uniform and its red 
lapels and cuffs are vividly contrasted. He is clean shaven, and wears 

_nankeen pantaloons. In his extended right hand he holds his cap 
loosely. The trees in the background are treated with Raeburn 
breadth. 


Painted for the family. 


Exhibited at the Art Institute, Chicago, 1895 and 1919. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 33. 


a 


fay AL, Mun» 


SIR THOMAS LAWRENCE, P.R.A. 
Encuisu: 1769—1830 


74—PORTRAIT OF LADY DUNMORE 


Height, 50 inches; width, 40 inches 


Tue gown of deep red velvet with its jeweled clasp forms a contrast to 
the mantle of ermine, which enwraps the lady’s shoulders. From her 
black hair, which is massed high upon her head, a cache-peigne of deli- 
cate lace falls to her shoulders, while a string of pearls adorns her 
queenly throat. Her eyes are dark and almond-shaped, her lips well 
cut, her chin tapering with a suggestion of fulness beneath it. Her 
right arm, encircled at the wrist by a bracelet of pearls, rests upon a 
table, and in her hand she holds an open book. 


Purchased from A. Smith, London, in April, 1891. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Ewhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 48. 


2 pe 


Barnet, Aah 


SIR GODFREY KNELLER 
Encuisu: 1646—1723 


75—A LADY OF QUALITY 

Height, 49°4 inches; width, 408% inches 
A CHEMISETTE of white reveals its snowy folds under a gown of blue, 
open to the waist, and below the waist the same color is dexterously 
contrasted with the rich red folds of the curtain, upon which the lady 
sits. Her hands rest upon the same drapery. From the oval face rises 


high the pale golden hair, which falls again in ringlets upon her shoul- 
ders. A landscape, painted in deep tones, forms the background. 


From the collection of William Walton, Esq., of Harrytown Hall, 
Romilly, Cheshire, England. 


Purchased from Dowdeswell & Dowdeswell, London. 
Exhibited at the Art Institute, Chicago, 1895 and 1919. 
Ealibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 10. 


5960. 


Pa. 


SIR PETER LELY 
EncuisH ScHuoou: 1718—1780 


76-—PORTRAIT OF FRANCES STEWART, 
DUCHESS OF RICHMOND 


Height, 50 inches; width, 40 inches 


In the splendid red attire of a lady of the Court, with short but full 
sleeves and the pearl necklace so frequently shown in such portraits 
from life, she is seated in a summer landscape. Daintily and with 
affected air, she raises her right hand to catch the spray of a fountain 
that falls lightly into the bowl at her side. 

Frances Teresa, Ist daughter and co-heir of the Hon. Walter Stewart, Ist 
Lord Blantire. She married, privately and was his third wife, Charles, fifth Duke of 
Richmond. She is said to have had “the most perfect face ever seen,” but to have 
been “the most cunning piece of frailty.” Known as “La Belle Stuart,” her head 
was engraved, as that of “Britannia” on the new coinage, by Rotier. Charles II’s 
lovemaking to her was “of the most open description.” About 1668 she lost all 
her beauty by the smallpox. 


Purchased from Dowdeswell & Dowdeswell, London, in October, 1905. 
From the collection of General Bulwer of Heydon Hall, Norfolk. 


C. COPS 
a 5 OC. 


JAMES INSKIPP 
Encusu: 1790—1868 


77—A SURREY PEASANT GIRL 
RETURNING FROM MARKET 
Height, 50 inches; width, 40 inches 


Tue blue sky of the background is streaked with long gray clouds. In | 
the middle of the picture is a group of straight young trees against 
which stands the Surrey peasant girl, a tall, lithe figure. Under 
the black broad-brimmed hat, whose ribbons are tied under a chin of 
delicate contour, we note the curling raven hair and the dreamy dark 
eyes with curved lids. Her neck is uncovered, and from her shoulders 
falls a long red cloak, which, as it hangs apart, discloses a large basket, 
carried on her left arm. The gown is of a dull olive color. The tone 
of the picture is rich and soft. 


Purchased from Dowdeswell & Dowdeswell, London, nm May, 1894. 
Exhibited at the Art Institute, Chicago, 1895. 
Exlibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 58. 


+ HOO: ¢hauh Yabenwe 


THOMAS HUDSON 
EncusH: 1701—1779 


78—PORTRAIT OF LADY MIDDLETON 
Height, 50 inches; width, 40 inches 


Nor only men, but ladies also, were given to literary pursuits in the 
boisterous days of Hudson, and the folio inscribed “Otho Opera,” held 
in the lady’s left hand, gives us the keynote. Incidentally she wears a 
blue dress with short sleeves and white cuffs. And so attired she can 
play on her harpsichord. 


Bought of Shepherd Brothers, London. 


H (50 


Mr. 


SIR GODFREY KNELLER 
EncutsH: 1646—1723 


79—PORTRAIT OF THE DUCHESS 
OF PORTSMOUTH 
Height, 50 inches; width, 40%4 inches 
Tue pose of this figure is conventional, yet seems to accord, not alone 
with the loose classical draperies, fastened only upon the left shoulder 
and revealing a chemisette with flowing sleeves, but also with the dark 
tresses, which rest upon the white shoulders. ‘The face, with its dark 


curving brows, is piquant rather than beautiful. The general tone 
of the picture, both in drapery and background, is brown. 


Purchased from Henry Graves & Company, London, October, 1892. 
Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 9. 


nae 


BE (- 


SIR JOSHUA REYNOLDS, P.R.A. 
EncusH: 1723—1792 


80—PORTRAIT OF MRS. BALDWIN 
Height, 54 inches; width, 431% inches 


Tuer type of woman here represented, with ivory skin, dark, almond- 
shaped eyes and dusky hair, is strangely suggestive of the Orient, nor 
are these chacracteristics weakened by the richly blended hues of the 
costume, which call to mind the gorgeous tints of Persian tapestries. 
One end of the divan, upon which the lady sits in true Eastern fashion, 
is adorned with a piece of embroidery, and on it the light rests from a 
glimpse of the sky, visible to the left. The whole picture is a marvel- 
ous color study, and the painting of the costume bears the mark of a 
master-hand. The costume is that worn by her at a ball given by 
George III. 


Mrs. Baldwin was the wife of the British Consul at Smyrna. Known as “the 
fair Greek,” she was a favorite model for painters; Cosway painted her as a Greek 


dancing girl. 

According to Graves and Cronin: “Works of Reynolds,” 1899, Vol. III, p. 1048, 
the version of this subject engraved by S. W. Reynolds and Paul Rajon is that 
formerly in the collection of R. Westall, R.A., and now in that of the Marquess 
of Lansdowne. Graves and Cronin not only give the full pedigree of this picture, 
but reproduce it (Vol. I, p. 45) as one of their selected plates. It was sold at 
Greenwood’s, April 14, 1796, No. 46; belonged later to Mr. Pearce:and was sold 
at Christie’s, March 26, 1860, No. 153. It was sold on July 30, 1883, out of one 
of the Strawberry Hill collections, and was again at Christie’s, March 19, 1892. 
Subsequently it was sold by Mr. J. J. Wigzell to Mr. McCormick. 

“The extraordinary beauty of this lady created a great sensation both at Vienna 
and in London, procured for her attentions from the Prince of Wales, afterwards 
George IV., and elicited even from Dr. Johnson a burst of clumsy amorousness. 

“In all the pride of youth and beauty,” writes her great-nephew to the 

Gentleman’s Magazine, “she was brought before the aged and infirm sage, 

whose curiosity had been aroused by the story of her foreign birth and resi- 

dence in distant lands. Johnson asked her, what was the color of the 

Abyssinians? Mrs. Baldwin replied, that she did not know. ‘But what colour 

do you think they are?’ persisted the author of ‘Rasselas.’ After some hesita- 

tion and renewed professions of utter ignorance on the subject, Mrs. Baldwin 
said, that she supposed they were brown. The doctor next said, he should 

like to give her a kiss, and, the husband’s permission having been obtained, a 

kiss was formally inflicted. Mrs. Baldwin could never forget the forbidding 

exterior of her Platonic admirer and the servile adulation of his future 
biographer.”—Goutzourn’s “Life of Dean Burgon.” 


Exhibited at the Art Institute, Chicago, 1895. 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 16. 


: 


QQ, Det Fath 


bh BOOO: 


SIR JOSHUA REYNOLDS, P.R.A. 
EncusH: 17238—1792 


81—PORTRAIT OF ELIZABETH, LADY TURNER 
Height, 641% inches; width, 30 inches 


Tue red drapery, mingling with the folds of the blue mantle, so skil- 
fully introduced, serves both to conceal and to reveal the lines of the 
graceful figure. The hands, with their tapering fingers, are expressive, 
nor is the face, with its dark widely opened eyes and arched eyebrows, 
lacking in originality. 


Elizabeth, daughter of William Wombwell, married, as his first wife, Charles 
Turner of Kirkleatham and of Clint, M.P. for York. He was created a Baronet, 
Apr. 20, 1782. Lady Turner died 1783, aged 57. 

Graves and Cronin, “Works of Reynolds,” reproduce this portrait, Vol. I, p. 128, 
and show that she sat to Reynolds in 1757. It is thus an exceptionally early work 
by him, and so marks a transitional stage in his development under the influence 
of the School of Kneller and his contemporaries. Reynolds gave no recorded 
sittings earlier than 1755. He did not exhibit at the Society of Artists until 1760 
and at the Royal Academy until nine years later. 

This portrait was exhibited at the British Institution in 1855, No. 123. It was 
sold May 2, 1874, No. 66, to Henry Graves & Co., before passing to Charles Neck, 
Nov. 4, 1887. Subsequently it was purchased from Stephen T. Gooden, London, 
September, 1892. 

Engraved by James McArdell. 

Engraved by S. W. Reynolds. 

Engraved by R. Josey. 


Exhibited at the Art Institute, Chicago, 1895, 
Exhibited at the Carnegie Institute, Pittsburgh, 1898. 


Exhibited in Copley Hall, Boston, in 1900 by the Boston Art Students’ 
Association, No. 17. 


5a 


JOHN OPIE, R.A. 
EncuisH: 1761—1807 


82—PORTRAIT OF A WOMAN 
Height, 84 inches; width, 54 inches 


A cuiassicaL motif permeates the whole setting. For the lady, seen 
prominently at full length, holds a torch above her head, while she 
regards the ground before her with passionate gaze. A symbolic key 
is in her left hand. 


ROBERT POLLARD 
EncusH: 1755—18388 


83—COACH VERSUS STEAM 
Height, 371% inches; length, 75 wmches 


THE coach races against a railway train of the early times and we are 
“7 miles from Bwry”—as the milestone informs us. The coach of 
“John Cowell and Co., Blackburn,” takes its passengers along the open 
country in the time of the long ago defunct ‘Kast Lancashire Rail- 


way.” 


Purchased from S. T. Smith, London, in July, 1902. 


Sy O° 


THOMAS LUNY 
EncusH: 1758—1839 


84—_WARSHIPS OF ADMIRAL NELSON 
Height, 45 inches; length, 721% 3 inches — 


Aw old-time setting is used to great pictorial effect to inform us hee 
in Nelson’s days an Admiral, seated in a boat manned by his sailors, 
and flying a Union Jack from its stern, was rowed out to his flagship 
in the offing. His ship fires a salvo, and other sealing: vessels in distant 
lines play their ornamental and useful part. 


Purchased from Thomas McLean, London. 


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LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 


\ 


* 


LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 


A Se 

BARKER (BARKER OF BATH), Tuomas 

The Shepherd Dog 14 
BEECHEY, Sir Wu, R.A. 

Portrait of Lady Beechey 59 
BONINGTON, Ricuarp Parxes 

An Italian Landscape 13 

Venice 37 
CALLCOTT, Sir Avcustus Wat, R.A. 

A View of Greenwich 8 

Warwick Castle 34 
COLLINS, Wiuumum, R.A. 

Children Playing with a Bird’s Nest 15 
CONSTABLE, Joun, R.A. 

Hampstead Heath 10 
COTES, Francis, R.A. 

Portrait of a Young Girl 55 
COTMAN, Joun SELL 

The Signal Tower at Yarmouth 2 

Landscape with Figures and Cattle 27 


CROME (OLD CROME), Joun 
The Edge of the Wood 6 


DAWSON, Henry 
Landscape 


DI ROTARI, Contr PIetrro 
Portrait of Count Marcolini 


ETTY, WiuiimMm, #4. 


A Nude 
Bather at Sunset 


GAINSBOROUGH, Tuomas, R.A. 


A Forest Scene with Cattle 
Landscape 

A Girl with Pigs 

Portrait of a Lady of Quality 
Portrait of Mrs. Robinson 


HOGARTH, WiiuiamM 


Modern Midnight Conversation 
A Conversation Piece 
Portrait of a Young Woman. 


HOPPNER, Joun, R.A. 
Portrait of a Young Lady 


HUDSON, THomas 
Portrait of Lady Middleton 


INSKIPP, James 


CATALOGUE 
NUMBER 


26 


45 


60 


78 


A Surrey Peasant Girl Returning from Market 77 


JANSSENS, Corne is 
Portrait of a Lady 


46 


CATALOGUE 
NUMBER 


KNELLER, Str Goprrey 


A Lady of Quality 75 
Portrait of the Duchess of Portsmouth 79 


LANDSEER, Sir Epwin, R.A. 
The Dog “Jolly” — 9 


LAWRENCH, Sir Tuomas, P.R.A. 


Portrait of the Marchioness of Ely 62 
Portrait of Canova, the Sculptor 68 
Portrait of Miss Barron 70 
Portrait of Lady Dunmore 74 


LELY, Sir PETER 


Portrait of the Countess of Portland AT 
Portrait of Madame Aphra Behn 54. 
Portrait of Frances Stewart, Duchess of Richmond 76 


LINNELL, JouHN | 
Midday vf 


LINTON, Wir.1AM 
The Mountain Lake 25 


LUNY, THomas 
Warships of Admiral Nelson 84 


MACLISE, Dante 
A Lady Playing a Guitar 65 


MIEREVELT, Micuae.t JANSZEN 
Portrait of a Young Girl 43 


MORLAND, Grorar 
A Rustic Cottage 
Animal Contentment 
Interior of a Stable 
Portrait of H. Wright, Esq. 


MORO, Str Antonio 
Portrait of a Lady 


MUELLER, VWs J AMES 
A View in North Wales 


NASMYTH, Parrick 
Dunkeld Ferry: A View on the Tay 


O’CONNOR, James A. 


Landscape 


OPIE, Jonn, R.A. 


Portrait of Man 

Portrait of Young Man 

Portrait of Lady Hamilton and Child 
Portrait of a Woman 


PHILLIPS, Tuomas, R.A. 


Portrait of Thomas Moore 


PINE, Rozsrerr Encr 
Portrait of Horace Walpole 


POLLARD, Rosrrr 


Coach versus Steam 


RAEBURN, Sir Henry, R.A. 
Portrait of a Man 
Portrait of Mrs. Macneill 
Portrait of Lord Hamilton 


CATALOGUE 
NUMBER 


5 
19 
22 
63 


44 


35 


12 


64 


69 


83 


REYNOLDS, Sir Josuva, P.R.A. 
The Oboe Player 
Portrait of Mrs. Baldwin 
Portrait of Elizabeth, Lady Turner 


RILEY, JouHn 


Sacharissa 


ROMNEY, Gerorcrt 
Portrait of Lady Hamilton 
Portrait of Lady Beauchamp 
Portrait of Alexander Blair 


SMIRKE, Roserr, R.A. 


The New Page 
The Obdurate Mother 


STANFIELD, WitutaAm Crarxkson, R.A. 


A. Coast Serre 


STARK, JAameEs 


Landscape 
Near Thorpe 


STOTHARD, Tuomas, R.A. 
The May Queen 


TURNER, JoserpH Matiorp WitiiaM, R.A. 
Snowdon: Waggoners—Early Morning 


Bath Abbey 


VINCENT, GEorRGE 
Landscape 


WATTS, Grorce Freperick, R.A. 
Portrait of Mrs. Val Prinsep 


CATALOGUE 
NUMBER 


56 
80 
81 


48 


23 


24 


3 


CATALOGUE 


/ NUMBER 
WILKIE, Str Davin, R.A. 

Market Day at St. Andrews, Scotland 36 

The Escape of Mary, Queen of Scots 42 
WILLCOCK, Grorce Barrette 

A ‘Thunderstorm at Hampstead Heath 11 
WILSON, Ricuarp, F&.A. 

The Bridge of Augustus at Rimini 16 

Landscape 33 


Classic Italy 38 


INTELLIGENT APPRAISALS 
FOR 
UNITED STATES AND STATE TAX 


INSURANCE AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


IS -EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


APPRAISEMENTS AND INVENTORIES 


OF 


ART PROPERTY, BOOKS, MANUSCRIPTS, JEWELS 
AND PERSONAL EFFECTS OF 
EVERY DESCRIPTION 


AT CHARGES COMMENSURATE 
WITH THE DUTIES INVOLVED 


THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 


NEW YORK 
TELEPHONE, 3346 GRAMERCY 


COMPOSITION, PRESSWORK 
AND BINDING BY 


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